By Ian Brodie
In A Vulgar Art Ian Brodie makes use of a folkloristic method of stand-up comedy, attractive the discipline’s critical approach to learning interpersonal, inventive verbal exchange and function. simply because stand-up comedy is a slightly large class, those that examine it frequently start via touching on it to anything they recognize―“literature” or “theatre”; “editorial” or “morality”―and research it hence. A Vulgar Art starts off with a extra basic commentary: somebody is status in entrance of a gaggle of individuals, chatting with them without delay, and attempting to cause them to snigger. So this ebook takes the instant of functionality as its concentration, that stand-up comedy is a collaborative act among the comic and the audience.
Although the shape of speak at the degree resembles speak between buddies and intimates in social settings, stand-up comedy continues to be a career. As such, it calls for functionality outdoors of the comedian’s personal group to realize higher and bigger audiences. How do comedians recreate that surroundings of intimacy in a roomful of strangers? This ebook regards every little thing from microphones to garments and LPs to Twitter as techniques for bridging the spatial, temporal, and socio-cultural distances among the performer and the audience.
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Additional resources for A Vulgar Art: A New Approach to Stand-Up Comedy
Example text
The Aristocrats (Provenza 2005*), a documentary about a joke type known to most stand-up comedians, but one which is performed backstage as an exercise in comedic artistry as opposed to onstage as part of professional repertoire, demonstrates how a text with a fixed and formulaic opening and closing but with unlimited liberty in the Stand-Up Comedy and a Folkloristic Approach 31 middle section can be made distinct with each performance. The formulaic pattern allows for its infinite variation: like most jokes when reduced to their structures, it is context-independent until it is performed.
We can see this negatively through the questionable success of transliterating live performances into the recording studio or onto the page (as is discussed later): without the audience’s reaction, however coerced or manipulated by the skilled performer that reaction might be and however little it “interferes” with the narrative flow of the performance, the text is incomplete. The stand-up comedian needs an audience, not like an author needs a reader or an artist needs a muse, but like a skier needs snow.
These genres of marginality (evidenced by the minimalizing words used in their names) are explicitly perpetuated as not only non-consequential but also inconsequential by the participants themselves: in part, so that, should the transgression of boundaries go beyond the acceptable confines of play, the participants can restore the play frame through reference to genre and, in part, so that, should those outside the participating members express concern about the content, assurances of the non-consequences can be quickly made.
